Whale Sharks: Giants of the Ocean

I painted this close encounter of a scuba diver swimming with whale sharks (Rhincodon Typus) in the Philippines as part of a series of commissioned oil paintings in 2016.*

I included a scuba diver to highlight the incredible size of the whale shark compared to a human, as well as its majestic presence. I wanted to suggest their meeting as a wondrous yet intimate moment in time between humanity and nature.

*See more in the section ‘Whale sharks and biodiversity in the Philippines.’

Elusive and mysterious

Adult whale sharks are often found at the surface, making them popular with snorkelers and divers. Despite their friendliness, these creatures remain enigmatic to scientists and conservationists; their maximum size, lifespan, and age of sexual maturity unconfirmed. Researchers are also unsure why they have spots.*

*See more on these topics in the following sections.

Ocean giants

Whale sharks (Rhincodon Typus) are the largest known extant fish species in the world. They are not whales, but their size is comparable. They dwarf great white sharks in size; the average size of a whale shark is around 32 feet, whereas great whites grow to around 20 feet. However, whale sharks are believed to grow over 40 feet (20 metres), similar to that of a bus. They can also weigh up to 20 tonnes. Whale sharks do not have any natural predators.

Habitat

Most sharks prefer temperate climates, except for Greenland sharks, which live in the Arctic and Northern Atlantic. Some whale sharks have been found in colder North Atlantic water near New York, but most are found in warm, tropical waters such as the Indian and Pacific Oceans.

According to this National Geographic video, titled ‘Investigating the Mysterious Whale Sharks of Mafia Island,’ whale sharks help support small ecosystems, as they are often found with schools of smaller fish alongside them, presumably hoping to catch small morsels or plankton when the shark feeds.

My painting shows a school of smaller fish following one of the whale sharks:

Interestingly, this phenomenon has inspired local fishermen living on Mafia Island, Tanzania, to work alongside whale sharks to catch the fish without harming the sharks.

Deep divers

Although often found at the surface, whale sharks can dive further than 1000 metres. In one study, based in the Saudi Arabian Red Sea, researchers used three types of satellite-transmitting tags to track the movements of 47 whale sharks.

Their findings were impressive:

The whale sharks made frequent deep dives to at least 500 metres (1,640 feet);
Three of the tagged sharks made excursions below 1,000 metres (3,281 feet);
The deepest dive they recorded was 1,360 metres (4,462 feet).

Distinctive and unique spot patterns

Whale sharks are the only species of the genus Rhincodon, part of the family Rhincodontidae. They are classified within the order Orectolobiformes, which contains seven families of sharks and includes the carpet sharks. Carpet sharks are given the name due to their mottled body patterns, evocative of carpet-like designs.

Whale sharks are easy to identify due to their size and distinctive pattern of white spots and stripes. The patterns are believed to be as unique to each individual as a fingerprint is to a human. However, the purpose of their spots is a mystery. Typically, patterns occur to aid camouflage; wobbegongs (a common name given to the 12 species of carpet sharks within the family, Orectolobidae), use the spots on their bodies as camouflage as they rest on the seafloor, and to help them blend in with the reef.

Intriguingly, it has been suggested that the spots on whale sharks help protect the sharks from harmful ultraviolet rays.

Feeding habits

Most sharks are carnivores, but some, like the whale shark, are filter-feeders. Inside the whale shark’s mouth are several hundred rows of small, hook-shaped teeth. Although it has a mouthful of teeth, the shark doesn’t use them to bite or chew food.

The whale shark is one of three species of filter-feeding sharks, namely the basking shark, and the more mysterious but aptly named megamouth shark. The whale shark actively swims through plankton, sieving these organisms through its gills; it has been observed ram filter-feeding and at times, nocturnally. Whale sharks are migratory animals who appear to move to areas in conjunction with fish and coral spawning.

Sharks within the order Orectolobiformes have eyes set far back behind a small mouth. Unlike most sharks, where the mouth is underneath the snout, the whale shark’s mouth is nearly at the tip of its nose.

Reproduction and longevity

The whale shark is usually solitary, however, it is sometimes found in schools of up to hundreds of individuals. These animals are found mainly in the open sea, but they sometimes come near the shore. Their age of sexual maturity and reproductive biology is unconfirmed, however, scientists presume that whale sharks are ovoviviparous, where the females incubate fertilized eggs inside her before they hatch, giving birth to fully formed live young. You can read more about ovoviviparity, and how it differs to viviparity, here. Each litter contains about 16 young, but litters of many more are possible. In the mid-1990s a female whose uterus contained nearly 300 young was caught near Taiwan. Like the other mysteries surrounding whale sharks, they have never been observed giving birth, and it is not known where this may happen.

It is thought that whale sharks are born between 40-60cm, but there are few sightings of individuals below 3m, and no one has yet determined where they go before reaching this size. However, one whale shark measuring just 38cm was found in the Philippines in 2009, suggesting it was a birthing ground and not simply used for feeding.

The gigantic size of whale sharks suggests they can live up to 100 years.

Whale Sharks, biodiversity, and conservation in the Philippines

As mentioned, the commissioned painting featured in this blog is part of an ongoing series of paintings of the Philippines.

Aside from its abundant natural mineral resources including gold and nickel (the country has the second largest gold deposit in the world), the Philippines is a biodiversity hotspot and a popular place for whale sharks to congregate; it is an archipelago consisting of more than 7,000 islands and is the smallest of the 17 megadiverse countries in the world. The Philippines covers only 2/100 of the total land area of the earth, yet 20,000 species of plants and animals have been recorded here, half of which are found nowhere else in the world. Read more on its biodiversity here.

Donsol, in the Philippine province of Sorsogon, has been identified as a whale shark hotspot, hosting one of the largest aggregations of whale sharks on Earth. 491 individual whale sharks have been identified at Donsol, this equates to 44% of all whale sharks identified in the country. Other large aggregations include Ningaloo Reef in Australia, Mexico, and Mozambique.

15 years ago, WWF Philippines partnered with Donsol and other tourism stakeholders to develop the Community-based Whale Shark Ecotourism Program and establish guidelines for whale shark interactions. Scientists are responsible for researching and studying individual sharks in an attempt to conserve them.

Endangered species

There are over 440 species of sharks in the world. These awesome creatures have outlived the dinosaurs, but many are now sadly threatened with extinction.

Due to threats to their ecosystem, whale sharks have been listed by the International Union for Conservation of Nature as endangered since 2016. Like all sharks and large fish, whale sharks are vulnerable to bycatch (becoming caught in fishing nets).

It is estimated that 100 million sharks and rays each year are killed by humans. If not victims of bycatch, most are killed by commercial fishermen for their fins and flesh. They are also sometimes illegally hunted and eaten as a delicacy in certain parts of Asia.

Sadly, sharks are greatly misunderstood. For instance, the orca whale is the ocean’s top apex predator, not the great white shark. On average, one person dies each year in the US from a shark attack. Cows, bees, wasps, dogs, and snakes are responsible for far more deaths each year in the US than sharks.

Indeed, whale sharks have no natural predators apart from people.

We need to remember that the ocean is their territory, not ours. Predatory species such as the great white, bull shark, or tiger shark, only attack if they confuse a person for their prey, usually fish or seals. It is best to bear this in mind if we choose to swim in areas of the ocean where they are present.

All sharks are vital to a healthy ecosystem

All marine life is essential to a healthy ecosystem and that of the planet as a whole. Sharks are vital as they maintain the species below them and are indicators of ocean health. The apex predators feed on weak and sick animals and ensure biodiversity.

Coral reef ecosystems, seagrass beds, and commercial fisheries have all declined due to the loss of sharks. Without sharks, larger predatory fish, such as groupers, increase in abundance in the coral reefs and feed on the herbivores. As the herbivores decrease, macroalgae increase and expand, leading to the loss of coral and the detriment of the entire reef system.

Majestic and awe-inspiring, yet vulnerable

I recently completed a four-week online course with the University of Southampton on ‘Exploring Our Ocean.’ One of the tasks was to upload an image, title, and description, to represent what the ocean meant to me; I uploaded my painting of whale sharks and titled it, ‘Majestic and Awe-Inspiring, yet Vulnerable.’ The wonders of nature surround us. For it to continue to inspire us, we should try to protect it from threats and exploitation.

Shark Week

With Shark Week upon us (9-16 August 2020), I thought it apt to share my painting of whale sharks. Created by the Discovery Channel to raise shark awareness, the event has grown online, with over one million hashtags on Instagram alone.

The Natural History Museum and the American Museum of Natural History have a ‘Nature Drawing Club’ and have included ‘Shark Week,’ so I have tagged them in the image on Instagram to help raise awareness of the vulnerability of whale sharks and the need to protect them.

Art & commercialism: dispelling the myth of the ‘starving artist’

“Talent is God given. Be humble. Fame is man-given. Be grateful. Conceit is self-given. Be careful.” John Wooden

Under normal circumstances, I would now be writing a mini report on my first Parallax art fair at Chelsea Town Hall and how much I enjoyed meeting the public and fellow artists. However, whilst at the fair I was confronted with the statement ‘an artist cannot make a living on his/her art’, which I felt compelled to address.

The statement came from a fellow artist (a retired gentleman who was also exhibiting) and I was stunned that he held this opinion, especially as I have been surrounded and encouraged by artists who make a very good living. It is also incredibly easy to find many successful artists simply by doing a google search. I myself sold my first original oil painting at the age of 15 to one of my teachers, and at the time I remember being delighted and surprised that someone liked my art enough to want to buy it. I mentioned this and he seemed surprised that his worldview was not wholly representative.

To be honest, I enjoy the challenge of breaking those perceptions and walls that enclose people’s minds to possibility. When I first sold a painting, I was a very academically minded student, who loved her studies and kept her passion for dance, sport and art in her spare time. I had an almost insatiable desire for knowledge and wanted to pursue a ‘sensible’ career. I had many interests but felt my love for English was the surest way to a ‘stable’ job, either through becoming a cultural journalist or similar, as it would encompass my love for writing, travel, science, nature etc in one. I had also convinced myself (to the disappointment of my art teachers), that if I studied Fine Art at Uni, I would lose my freedom and style. I decided to continue painting ‘on the side’ and instead pursued academic excellence and scholarships, earning myself a place at Royal Holloway, University of London, studying English Literature.

I continued to enjoy regular paid art commissions for clients since that first sale, selling original work and having exhibitions, but I had apparently been indoctrinated somewhere it ‘was not possible’ to paint and make a living. I was guilty of building my own walls and this was exacerbated by the 18^th century (perhaps symbolically archaic) phrase ‘I don’t want you to be a starving artist’ sometimes quoted over the years from a few well-meaning friends and relatives.

Thankfully, my ‘art-career’ worldview transformed when I met hypperrealist artist and royal portrait painter, Darren Baker, in early 2015. Some say that life is full of coincidences, random meetings, serendipity or fate. I am in the ‘fate’ camp, or rather ‘divine intervention,’ due to my Christian faith. Everything happens for a reason and so it is always good to be spontaneous. I had discovered Darren’s work online and admired one of his works in particular, an oil painting of a race horse. I signed up to his mailing list (essential to any artist!), and was soon invited to a private view held at his newly opened gallery, on the perhaps symbolically named Charlotte Street, in London’s Fitzrovia. Darren was present at the event and towards the end of the evening I gathered the courage to speak to him about his work.

I quickly realised Darren was far more interested in my own art and asked to see some examples. He really liked my work and, to my utter astonishment and delight, offered to show my paintings alongside his. Realising he was being serious, I agreed and soon began working on my first seascape series, ready for exhibition in September 2015. I had the privilege of being introduced to internationally renowned established artists from that point on; exhibiting alongside Darren Baker, Chinese artist/activist and Royal Academy exhibitor Ai Wei Wei and microartist Graham Short. I have kept in contact with Graham since our group exhibition and am currently working on a portrait of him (soon to be revealed!). I then met Burmese artist Min Wae Aung at a private view in London in 2016 and have kept in contact, with an open invitation to exhibit either solo or in a group.

These artists (who happen to be male, although I have never seen this as a significant factor) played a huge role in encouraging me in my painting. They were already successful and could easily advise others. I was also not intimidated by their success, nor insecure in my own abilities. Since then I have discovered many artists online whom I admire and who enjoy success, painting because they love it and the earnings follow: these include Ran Ortner, Joel Rea and Andrew Tischler. They have become my gauge as to what is possible in this field, so I remain persevering and adamant in my work. The key is to surround yourself with positive, successful (this comes in many forms), secure people, those who will most importantly pull you up, not bring you down. Always be confident in your own work, be ready to learn, and to look at the successes of others as something to celebrate and encourage you, not to make you insecure. My own security lies in my faith and my family and friends, not my ability, material success or worldly validation.

Indeed, I have the absolute honour and privilege of being part of an incredibly supportive and loving family, who have given me amazing life lessons. Due to my parents’ jobs in luxury architecture and interior design, my sister and I were introduced from an early age to very ‘materially’ successful individuals and companies. Our parents taught us to remain humble no matter our success, to identify with those who have ‘material success’ and those who have little, and to stay close to family and friends. I have learnt how to be with people from different social stratospheres and hopefully can help enable conversations between both. I believe that anyone who has the right attitude is worth admiring. There is no point gaining the world, yet losing your soul.

After I left my marketing role three years ago to first take a ‘leap of faith’ into the art industry, I was quickly tempted by a large investment firm asking me to work for them for a very attractive salary (potentially earning up to six figures in just three years). The material rewards and financial ‘security’ were promising. However, on asking them how long I would have to focus on my art, they said I would probably need to forsake it as I wouldn’t realistically have time. The job offer still stands but I have not taken it. I have been converted from an academically minded person to a full believer that I can earn a living from my art, without losing my soul to materialism and commerce or myself becoming a product.

I did not study fine art, but I have heard that at Universities, it is not always encouraged to be ‘commercial’ or in other words, to sell your art. This is detrimental to artists; as Parallax have pointed out, artists have always been capable of earning. Historically, they earned on a commission basis (as I mostly did early on) and followed what the public wanted, which gave them ‘financial’ security.

For those concerned, being a successful artist has never been limited to men. There are many successful living female artists such as Marina Abramovic, Zaria Forman, Bridget Riley and Vija Celmins to name a few. Mary Beale was the first commercially successful female artist – there was a fascinating BBC 4 documentary recently on her ‘lost masterpieces,’ presented by art historian Dr Brendor Grosvenor and social historian Emma Dabiri. Some may argue that Mary’s gender disadvantaged her, being always compared to Peter Lely. However I am of the firm belief that she was successful in spite of such social ‘obstacles,’ indeed she was commercially successful which is incredible for the 1600s.

Both men and women have encouraged me to pursue art full time, although of course I have encountered insecure male and female artists who have become seemingly embittered and jealous of successful artists, perhaps as a result of not receiving encouragement/opportunities themselves and instead settling with unfulfilling jobs, or ones that are viewed by the world as ‘conventional.’ Many artists have had different careers before pursuing art full time later in life, but I know I would regret waiting.

I am a ‘glass half full’ person- the way you perceive a situation is usually dependent on your personality and experiences. Positivity (no matter the circumstances) conquers negativity every time – who can be creative or successful if they are negative? If you are not surrounded by positive, encouraging people, especially those closest to you, then seek them out. There lies the blessing of the internet – there are many ‘trolls’, but even more successful, generous hearted people who are excellent role models and do not care for the jealousy of others. A person’s opinion is always an extension of themselves – those who are embittered and jealous have most probably experienced negativity so be kind and encouraging at all times. Everybody needs it. If there was more love, kindness and encouragement in the world, a lot of its manmade problems wouldn’t exist, but that is for another blog and this one is already quite long.

I believe the view that it ‘isn’t possible to earn a living as an artist,’ is sadly shared by many artists who are simply not sure how to turn their painting into a business per se. The first and most important thing is to work hard, be honest and a team player. It says in the Bible that to refresh others is to refresh yourself. Be a blessing and be constructive, even if you disagree.

I am grateful to have always received admiration on my work by artists and non artists alike, however I have also at times felt a strange competitive and jealous spirit from both male and female artists in various exhibitions I have attended and exhibited at (not the ones I have mentioned of course!). Why? We are a community, we do the same discipline but in our own voice; we are not (hopefully) an echo of others. So how is there a comparison? There is a saying that there is a client for every piece of artwork, so artists should be less insecure or critical of others’ work.

John Wooden’s quote is pretty much my family’s mantra (thank you to Biljana , a lovely artist I met at Parallax, who retweeted it on Twitter the other day!). Let us deconstruct it, as I feel it is so timely and powerful

‘Talent is God-given. Be humble’ (as a person of faith, I agree with this), ‘gifts’ are often apparent early on in life and when nurtured properly, lead to success, hence protegees etc. People without a faith may not believe this, but a gift is certainly something that can be innate/possibly inherited at times, even a result of rare accidents which triggers something in the brain. Some artists are considered more gifted than others, but that is no reason to be proud.
‘Fame is manmade. Be grateful,’ as it could disappear the next day!
‘Conceit is self-given. Be careful.’ Many artists have succumbed to the temptation to self-glorify and have risked having their vanity remembered far more than any ‘talent.’ After meeting many artists over the last three years, I am not interested in conceited artists (or people for that matter), but those who are humble and have a healthy self-belief, no matter how talented or how successful they have become. Too many artists seem to be self-involved and competitive, veiling their insecurity in overcompensated arrogance.

Maybe this is my own artistic utopia that I am envisaging, but I want artists to be more generous and kind to others in their field and to know that to be humble is a very attractive thing to potential buyers and to the world in general. Art is a piece of your soul that you offer to the world on a sacrificial stone. It should be a process of love and an extension of your soul, and I hope it can be used more to give hope and joy to others. For someone who disliked social media with a passion and took years to even be persuaded to get a Facebook account, I know now how much art can inspire others and that encouragement is so needed both online and offline. I also want to assure other artists that they most certainly can make a very good living from doing what they love.

The World of Interiors Magazine – London Design Festival 2017

‘An interior is the natural projection of the soul.’ Coco Chanel

The World of Interiors magazine is considered by many to be the definitive guide to the most innovative trends and traditional designs for both professional interior designers and creative entrepreneurs alike. Every reader becomes a design pilgrim, seeking the next piece of antiquity or source of inspiration for their home or project. The October edition of the magazine is the main issue of the year as well as the biggest issue, not just in physical weight but also in its scope of interior spaces, fabrics, decor, furniture and art, all being showcased city wide as part of the prestigious London Design Festival.

Now in its 15th year, The London Design Festival gathers the most innovative and dynamic designers, artists , architects and retailers from across the capital to exhibit their creative talent in many pop up London venues throughout 16-24 September 2017. Each exhibiting company will be launching their latest designs for the autumn season and into 2018, alongside classic, timeless pieces. There is a plethora of events to choose from during the London Design Festival and throughout the autumn and winter season, including the French Design Trail, 100% Design at Olympia, The V&A design programme, Design Junction, The London Design Fair at the Old Truman Brewery, Focus /17 at the Design Centre Chelsea Harbour and Decorex. Incidentally, luxury interiors online platform, Treniq, will have a stand at The London Design Fair and Decorex, exhibiting a selection of contemporary designs; my paintings are displayed on their online gallery, here.

I personally love finding pieces of art and design inspiration in the magazine and on my travels in general, but I also find that the people that populate the pages of WOI are just as interesting as the aesthetic principles they adhere to. There is a fascinating interview with People of the Sun charity founder and previous architect, Maria Haralambidou, who has helped bring the designs of talented local Malawi artisans to a global audience and whose latest collaboration with Dutch designer Ineke Hans will be launched at LDF. Art director and stylist Sue Skeen has also given an insight into the New Craftsmen gallery- a quirky collaboration between a rush weaver, leatherworker, mosaicist, cabinet maker and painter. Then there is the home of architect Duncan McLeod and Lyndsay Milne McLeod, founders of Studio McLeod, whose seemingly ordinary West London Victorian terrace house belies an extraordinary inner labyrinth for their children to play, imagine and grow in, deservedly earning them an RIBA architectural award. For those who want to take a closer look at their designs, Studio McLeod will be participating in Open House London on 16 September. Other feature interviews include French designer Jacques Garcia and his incredible Mogul-style ‘pavilion of dreams’ in northern France, the Chateau du Champ de Bataille, with gardens echoing the Taj Mahal.

There are more cases of the unexpected at Ditchley Park in Oxfordshire: we are offered a glimpse into the sumptuous William Kent interiors and former home of Nancy Lancaster, and the recent collaboration with charity ‘Fine Cell Work,’ where skilled embroiderers in prison have helped recreate one of the former chatelaine’s rooms. The front cover of WOI is also an homage to the eclectic London home of wallpaper designer Georgie Hopton and her husband, artist Gary Hume (part of the YBA and made famous after the 1988 ‘Freeze’ show). The wallpaper design featured on the cover is typical of the floral designs that Georgie favours. The couple’s summer retreat in upstate New York is a refuge for both artists to freely experiment and paint, with its vegetable garden serving as a daily source of inspiration for Georgie’s latest designs, some of which can now be seen at the Baby Forest gallery. There is an undeniable underlying theme pervading the pages of the magazine, of designers, architects and homeowners restoring and enlivening beloved spaces to their former glory, reaping the rewards after much perseverance and unquestionably a huge amount of love.

Lawrence Alma-Tadema’s home is another highlight of the magazine, not least because he painted one of my family’s enduringly favourite paintings, The Coign of Vantage: as a previous student and ardent admirer of classical literature, this painting particularly reminds me of Homer’s The Odyssey. Tadema’s paintings have been used as a guide for many films, including Gladiator, where the clothes served as inspiration for the films costume designer. His ‘fastidiously researched images of antiquity’ in his paintings translated into his home, where each room immerses you in a ‘different aesthetic reality’, from ancient Rome to the C17th Netherlands. You can visit his exhibition, ‘Alma-Tadema: At Home in Antiquity’ at Leighton House Museum until 29 October.

The magazine also showcases a selection of the best fabrics, furniture, books and decor that have recently been launched, including ‘Highland Retreats: The Architecture and Interiors of Scotland’s Romantic North’ by Mary Miers, Max Eggers’ favourite wallpaper designs at Decorex and Focus, and Cecile Daladier’s ceramics in Provence, influenced by her love of music, botany and art history.

With such a colourful magazine brimming with trinkets of inspiration, I thought it would be appropriate to embody the spirit of the autumnal season and London Design Festival with my oil painting, ‘Autumn Colour,’ measuring 100cm x 50cm and painted on linen.

Why not look for your next piece of home inspiration in the World of Interiors magazine or at one of the many London Design Festival events!

*Information sourced from The World of Interiors magazine, October edition 2017.

The Environment Trust: Secret Art Sale, 22-23 Sept 2017

‘No act of kindness, no matter how small, is ever wasted.’ Aesop

I’m delighted to have been asked to participate for the second year running in the Environment Trust’s Secret Art Sale. This is a two day art exhibition with a twist, where acclaimed artists, jewellers, photographers, architects, scientists and art students all contribute an A5 painting anonymously. Each painting is priced at £35.00, giving you the opportunity to purchase an original work of art by a renowned artist or celebrity at an affordable price. Only once the artwork has been purchased will the name of the artist be revealed! Most importantly, all proceeds benefit the charity’s conservation work in educating and encouraging communities to protect our natural environment and green spaces for posterity, particularly in urban areas. Submissions for 2017 can be viewed here. The artist biographies are also now on the website.

I posted my A5 oil painting at the local post office in the picturesque village, Bourton-On-The-Water, whilst holidaying in the Cotswolds. This is me beside the post office in Bourton’s exquisite model village, built in 1937 and an exact miniature replica of Bourton- a masterpiece by some very talented artists and craftsmen!

Each year, the Secret Art Sale has a unique theme to support the charity’s conservation work. With 24% of Greater London made up of private gardens, the 2016 exhibition was aimed at heightening the awareness of the importance of gardens as a vital resource and habitat for wildlife. The event saw contributions from the Environment Trusts patron, Gordon Buchanan, as well as Quentin Blake, Alan Titchmarsh, Nobel Prize Laureate Sir Paul Nurse, and Axel Scheffler- the Gruffalo artist and another patron of the charity. I’m happy to share that 90% of the paintings on display last year were sold and over £7000 was made, which has been a fantastic asset to their conservation work. The funds generated enabled them to work directly with school, local communities, and others to highlight the use of gardens and other green spaces in urbanised areas as habitat that will encourage the return of once common species such as the hedgehog. You can read more about last years event on their blog. You can also view the paintings and revealed artists from 2016 here. Continue reading “The Environment Trust: Secret Art Sale, 22-23 Sept 2017”

Art UpCLOSE – Monaco, Miami and New York

‘It doesn’t matter where you go, it’s who you travel with.’ Anonymous

I’m excited to announce that I have recently signed with New York based art agency, Art UpCLOSE! They are a pioneering art marketing company who will be showcasing my paintings digitally via flatscreen at events in Monaco, Miami and New York. Modern technology has revolutionised the art market and I’m looking forward to promoting my paintings and drawings in niche markets worldwide using their company strategy.

Our first destination will be the exclusive Monaco Yacht Show (MYS) for the ultra luxury market in Monte Carlo on 27-30 September 2017, under the high patronage of His Serene Highness Prince Albert II of Monaco. MYS has been set in the iconic Port Hercules of the Principality of Monaco since 1991 and is the only place to admire and purchase around 125 extraordinary one-off yachts built by the world’s most respected shipyards. 580 companies and partners participate in MYS among the world’s leading brands, designers and luxury manufacturers. Art UpCLOSE have been selected as the only company representing art at this unique event and will be exhibiting my paintings and drawings, alongside other artists work, during daily private receptions held in the Artifact booth at the new Starboard Pavilion, next to Bentley, Ferrari, Lamborghini, McLaren and Rolls Royce.

After the Monaco Yacht Show, there will be three more global art and design fairs in Miami and New York to look forward to in the coming months and into 2018, namely: Spectrum Miami on December 6-10, 2017, the Architectural Digest Design Show in Manhattan in March 2018, and Artexpo New York on April 19-22, 2018. I also have my art exhibited continuously alongside other artists, via flatscreen in Artifact’s Manhattan gallery in Orchard Street, New York. You can read more about Art UpCLOSE on their website, where my original oil paintings and drawings are now available to view.

I’m looking forward to seeing what the coming months and next year will bring and what God has in store. All glory goes to Him. I hope you can join me on this journey with Art UpCLOSE.

Next stop.. Monte Carlo!

Preserving Vanishing Cultures through Art

“We are all visitors to this time, this place. We are just passing through. Our purpose here is to observe, to learn, to grow , to love. And then we return home.” Australian Aborigine Proverb

August 9, 2017 marked the 10th anniversary of the UN Declaration of the rights of indigenous people around the world. It was a landmark decision to actively protect the 370 million people that make up the worlds population of indigenous cultures, including the Inuit of the High Arctic, the Eagle Hunters of Mongolia, the Dayak of Borneo, the Honey Hunters in Nepal, the Tuareg people of the Sahara desert, the Australian Aborigines, the Polynesian Maori of New Zealand, the First Nations of America, the Sami tribe in Scandinavia and the myriad of nomadic hunters and semi-nomadic pastoralists and hunter/gatherers around the world. This number may only total 5 per cent of the global population, but the unique contribution these people make to our world far exceeds that number in terms of cultural diversity, knowledge enrichment, sustainable development, enhancing scientific knowledge and tackling climate change.

Indeed, environmental conservation paired with the intellectual legacy of humanity has never been so crucial. With a myriad of challenges currently threatening the planet, including climate change and depleting global resources, this present time is a pivotal opportunity to actively protect indigenous peoples and learn from them. Not only will learning from them help to protect our environment, but recognizing their different histories, ways of life and traditions will help us to reject a generic modern culture, faced with the seemingly inexorable progression of technological advancement and globalisation. Alarmingly, out of the approximately 7,000 languages spoken on earth, one language becomes extinct every fourteen days. My project, ‘Vanishing Cultures’, for which I won the Surrey County Council Art Award, focused on my desire to highlight the gradual effacement of indigenous identities in the face of globalisation and consumerism. By raising awareness of the need for mutual understanding, I hoped to help preserve not just their legacy but also that of humanity, as we are all custodians of one fragile planet.

The project initially evolved as a result of my seeing some students at school getting tattoos depicting Japanese calligraphy without understanding its meaning, their only concern was that it was perceived as a mark of social status. After researching the significance of tattoos and other cultural emblems in certain societies, I realised that their meaning was lost when adopted by another society. I began exploring ‘vanishing cultures,’ a topic already of interest to me as a result of my subscription to the National Geographic magazine. I wanted to highlight the gradual effacement of a strong cultural identity and connection to history, retained most significantly by members of indigenous communities. My project aimed to resist a generic modern culture, whilst maintaining a dialogue between diverging communities and their personal histories.

I discovered a beautiful photo of a Filipino tribal girl in the National Geographic magazine and being of English and Filipino heritage (amongst others), I wanted to represent the closeness and distance of my knowledge with that of indigenous peoples. I decided to paint the tribal girl’s tattoo on my sister’s arm; we frequently used each other as muses but this was especially significant as it was in a sense a self-portrait, but also an objective painting. The Tatak ng Alon tattoo (‘wave imprint’ in Filipino) is symbolic for the tribe and the wearer as each tattoo has a meaning and significance for the individual, consequently that meaning would be lost if adopted by another culture or inscribed on another person. The fact it is being washed away on my sister’s arm represents the gradual disappearance of that history when appropriated without an understanding of the said culture.

Indigenous cultures only disappear when external forces, such as the deforestation of rainforests, engulf them. The final piece aimed to project a future without these cultures and the loss of their knowledge; it depicted a barren and drought devastated environment, akin to a photographic negative. Without the knowledge specific to a particular location, all significance is lost to the interpreter and that knowledge vanishes.

The final painting was on display at my school from 2005-2012 when I wanted to reclaim it for my portfolio. There is far more meaning that I included in the painting that there is not enough space to write here without being verbose, but now that I am working as an artist fulltime, I do feel a burgeoning desire to reinvigorate the project and continue exploring the theme of vanishing cultures. I would like to investigate more ways in which I can use my art to promote the beauty and importance of indigenous communities, and hopefully help preserve their heritage and knowledge for posterity.

There is always Hope – art and conservation in Polperro

‘The sea, the great unifier, is man’s only hope. Now, as never before, the old phrase has a literal meaning: we are all in the same boat.’ Jacques Yves Cousteau, Oceanographer

I have been interested in conservation from an early age, whether it be human or environmental, and have often been inspired to create artworks based on my research. Most artists are intrinsically fascinated with their environment and the sea is no exception: painters, poets, sculptors, filmmakers and musicians have each aspired to capture that elusive vitality of the ocean and our relation to it. In exploring our human connection to the sea, I wanted to capture some of the unique lifestyles of those around the English coastline whose livelihoods depend on the ocean.

It is now just over one year since I last visited the Cornish village of Polperro on holiday and explored its narrow cobbled streets once again. During that summer of 2016, I was invited by local artist Regina Farrell, a member of the British Association of Naive Artists, to exhibit my work in her pretty art gallery on the harbour. I have since been fortunate to have sold some of my favourite original oil paintings and limited edition prints to visiting holidaymakers.

Whilst visiting the area, the stories of local fishermen’s wives captured my interest, some of whom told me their husbands have turned to the tourist industry for a more stable income. Set in a beautiful 12th century harbour, the village’s source of revenue originally came from smuggling and fishing. For centuries, pilchard fishing was the predominant occupation, however shoals of pilchards diminished in the 1900s and it ceased to be the mainstay in the 1960s. Tourism became the main industry during the 20th century, forcing some families to abandon fishing and transform their boats into tourist vessels. At the time we visited, there were currently around a dozen fishing boats in operation, employing over 30 local fishermen. Although I enjoyed our boat trip, it seemed a shame that the fishermen couldn’t be out on the waves, working in a job which they loved and was a part of their heritage.

There is currently a real urgency for marine conservation and the work of artists are vital in helping to secure the protection of our heritage and environment, whilst ensuring the delicate balance between our human need and what resources are available. Artists are uniquely placed to capture people’s imaginations and raise awareness of endangered places and traditions. Fishing in vast quantities may not be sustainable for the planet, but it is important that this way of life continues sustainably for those whose livelihoods depend on an incredibly tough fishing industry and who live in accordance with the ocean. I love the name of this particular Polperro fishing boat, as I feel it is emblematic for the future livelihoods of those who depend on the fishing industry.

This painting is still a work in progress due to some exciting commissions which I will soon be revealing. However I’m looking forward to finishing the painting and adding to my series of Polperro artworks. You can see some of my (finished!) original oil paintings and limited edition prints in person at Gina’s Art Studio, Lansallos Street, Polperro, Cornwall, UK …

Home is where the Art is – The World of Interiors Magazine

‘A house is more than mere shelter. It should lift us emotionally and spiritually.’ John Saladino (American Interior Designer)

I have always had an affinity with interior design. As a painter with interior designers and architects in my family, design is in my blood. I have been raised to believe that art and design are closely entwined. Without art, design is merely function. Both art and design are means of communication, and both can elicit an emotional response. It has been said that every child is an artist, it’s just difficult to stay one when they grow up.

The homes I have been accustomed to with my family are as culturally diverse as their owners, from palaces around the world to luxury residential properties and royal residences in the UK. The wealth at some of these client’s disposal is staggering. But what I have come to appreciate most about home design is its faithfulness to the personality of the owner and to their environment and culture. The more personal the approach, rather than mere ostentatious display for its own sake, the more meaningful it is and the more I like it.

The houses featured in the summer edition of The World of Interiors Magazine are ones that would inspire anyone who treats their home as an extension of their personality. Coco Chanel is quoted to have said that an interior is a natural projection of the soul. I believe that art, like interior design, should be a refuge for self expression, a world away from the homogeneous capitalist industry that often seems to surround us. It should be a space for our soul and spirit to be restored, to remember what makes us individuals. I like the fact that the owner of the kitchen featured in the front cover, ‘Lady X’, has remained anonymous so her creative flow is not impeded by what the media or history might have portrayed. Adopting a pseudonym has given her the freedom to be herself and give others a glimpse into what really makes her alive. It also gives me a strange desire to purchase a balcony facade from an 18th century house in India and situate it within my living room. The welcoming and vibrant nature of her home is in stark contrast with the art of Marcus Jefferies, not less inspiring, whose work addresses the uncanny, lonely nature of a postindustrial society, with buildings that survey us rather than include us.

I was elated when Conde Nast’s World of Interiors contacted me saying my work would be a perfect fit for their summer design festival. Art should create conversation, and for me, be a hopeful response to a mundane society by encouraging the connection between people and the environment, rather than distancing us from one another. I chose to include my hydrangea oil painting in the Artistic Impressions pages, as to me the painting represents what art should do within a home.

Like a flower blossoming in nature, art should add life and hope, set in stark contrast to what is often a dark world. The pink petals denote warmth and passion, adding colour and vibrancy. Art should inspire you, and when situated within your home, it becomes an integral part of the tapestry of your life. Surround yourself with those meaningful pieces of art that uplift you and see what a difference it can make to your home.